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Journal articles on the topic 'Art, Abstract'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Ickes, Melinda J., and Stephen F. Gambescia. "Abstract Art." Health Promotion Practice 12, no. 4 (2011): 493–96. http://dx.doi.org/10.1177/1524839911413128.

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2

Kumar, A. Sampath. "Abstract art." Indian Journal of Thoracic and Cardiovascular Surgery 20, no. 1 (2004): 1. http://dx.doi.org/10.1007/s12055-004-0283-5.

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3

Mikulinsky, Romi, and Yanai Toister. "From Abstract Art to Abstracted Artists." Journal of Science and Technology of the Arts 8, no. 1 (2016): 29. http://dx.doi.org/10.7559/citarj.v8i1.219.

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4

Tabulo, Kym. "Abstract sequential art." Journal of Graphic Novels and Comics 5, no. 1 (2013): 29–41. http://dx.doi.org/10.1080/21504857.2013.803994.

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5

Michalowski, Stefan, and Georgia Smith. "Art: Abstract relativity." Nature 470, no. 7332 (2011): 38. http://dx.doi.org/10.1038/470038a.

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6

Berry, Kenneth. "ABSTRACT ART AND EDUCATION." British Journal of Aesthetics 32, no. 3 (1992): 266–68. http://dx.doi.org/10.1093/bjaesthetics/32.3.266.

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7

Singh, Gary. "Electrifying Digital Abstract Art." IEEE Computer Graphics and Applications 35, no. 2 (2015): 4–5. http://dx.doi.org/10.1109/mcg.2015.27.

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8

Thistlethwaite, Jill. "Abstract art and publication." Clinical Teacher 17, S1 (2020): 4–5. http://dx.doi.org/10.1111/tct.13250.

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9

Clarke, Jenni. "Deep space abstract art." Practical Pre-School 2013, no. 145 (2013): ix—x. http://dx.doi.org/10.12968/prps.2013.1.145.ix.

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10

Toljan, Karlo. "Neuroscience and abstract art." Gyrus 3, no. 1 (2015): 8–10. http://dx.doi.org/10.17486/gyr.3.1002.

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11

Wilson, Daniel. "Art and Abstract Objects." British Journal of Aesthetics 55, no. 2 (2014): 255–58. http://dx.doi.org/10.1093/aesthj/ayu020.

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12

박소현. "Abstract Art and Tradition in Japan: For Thinking about 'Korean' Abstract Art." Misulsahakbo(Reviews on the Art History) ll, no. 35 (2010): 5–42. http://dx.doi.org/10.15819/rah.2010..35.5.

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13

Mullennix, John W., and Julien Robinet. "Art Expertise and the Processing of Titled Abstract Art." Perception 47, no. 4 (2018): 359–78. http://dx.doi.org/10.1177/0301006617752314.

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The effect of art expertise on viewers’ processing of titled visual artwork was examined. The study extended the research of Leder, Carbon, and Ripsas by explicitly selecting art novices and art experts. The study was designed to test assumptions about how expertise modulates context in the form of titles for artworks. Viewers rated a set of abstract paintings for liking and understanding. The type of title accompanying the artwork (descriptive or elaborative) was manipulated. Viewers were allotted as much time as they wished to view each artwork. For judgments of liking, novices and experts b

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14

Novák, Josef. "Abstract Painting." International Philosophical Quarterly 60, no. 3 (2020): 287–306. http://dx.doi.org/10.5840/ipq2020715152.

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Since the beginning of the twentieth century, abstract art has formed a central stream of modern art. To attain purely aesthetic goals, many avant-garde artists turned painting in particular into a pursuit of breaking off the relations with natural forms. Instead of copying them, they have merely relied on their inner visions. When externalizing these visions directly on the canvas or sheets of paper, the practitioners of abstract art have inadvertently used the phenomenological method and its epoché. In this essay I argue that the philosophies of Kupka and Husserl are largely compatible. This

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15

Magalhães, Ana Gonçalves, and Adele Nelson. "Introduction. Abstract art in Brazil." MODOS: Revista de História da Arte 5, no. 1 (2021): 105–13. http://dx.doi.org/10.20396/modos.v5i1.8664175.

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In this introduction, we present some of the elements that guided both the formulation of the concepts of this dossier on abstract art in Brazil and our first reflections on the articles by invited authors and those submitted to the open call. Our main aim was to gather a collection of articles that would bring original research and approaches, focusing on aspects yet to be dealt with in the existing scholarship. The contributions brought to light analysis of artworks and women artists yet to be duly considered, as well as unpublished case studies focused outside the artistic milieu of Rio de

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16

Joosik Min. "Aesthetic Fundamentals of Abstract Art." Misulsahakbo(Reviews on the Art History) ll, no. 34 (2010): 5–38. http://dx.doi.org/10.15819/rah.2010..34.5.

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17

Johnson-Laird, P. N., and Keith Oatley. "Emotions, Simulation, and Abstract Art." Art & Perception 9, no. 3 (2021): 260–92. http://dx.doi.org/10.1163/22134913-bja10029.

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Abstract Some people feel emotions when they look at abstract art. This article presents a ‘simulation’ theory that predicts which emotions they will experience, including those based on their aesthetic reactions. It also explains the mental processes underlying these emotions. This new theory embodies two precursors: an account of how mental models represent perceptions, descriptions, and self-reflections, and an account of the communicative nature of emotions, which distinguishes between basic emotions that can be experienced without knowledge of their objects or causes, and complex emotions

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18

Yi-Zhe Song, D. Pickup, Chuan Li, P. Rosin, and P. Hall. "Abstract Art by Shape Classification." IEEE Transactions on Visualization and Computer Graphics 19, no. 8 (2013): 1252–63. http://dx.doi.org/10.1109/tvcg.2013.13.

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19

Séquin, Carlo H. "Topological tori as abstract art." Journal of Mathematics and the Arts 6, no. 4 (2012): 191–209. http://dx.doi.org/10.1080/17513472.2012.708896.

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20

Jätzold, Stephan. "ART - the abstract robot toolkit." XRDS: Crossroads, The ACM Magazine for Students 8, no. 5 (2002): 1. http://dx.doi.org/10.1145/991118.991119.

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21

Haigh, C. A. "The art of the abstract." Nurse Education Today 26, no. 5 (2006): 355–57. http://dx.doi.org/10.1016/j.nedt.2006.06.002.

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22

Selvanathan, Senthil K., Rebecca D. Udani, S. D. Udani, and K. R. Haylett. "The art of the abstract." BMJ 332, Suppl S2 (2006): 060270. http://dx.doi.org/10.1136/sbmj.060270.

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23

Elezović, Nadežda. "Sacred in Modern Abstract Art." IKON 11 (January 2018): 153–62. http://dx.doi.org/10.1484/j.ikon.4.2018016.

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24

Szanajda, Andrew, and Yu Jie Li. "What is True Abstract Art?" International Journal of Humanities, Social Sciences and Education 10, no. 8 (2023): 7–11. http://dx.doi.org/10.20431/2349-0381.1008002.

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25

Kwon, Youngjin. "The National Art Exhibition and ‘Abstract Academism’ of Korean Art." Journal of Korean Modern & Contemporary Art History 35 (July 31, 2018): 147–74. http://dx.doi.org/10.46834/jkmcah.2018.07.35.147.

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26

Subedi, Abhi. "Abstract Paintings and Nepali Context." SIRJANĀ – A Journal on Arts and Art Education 8, no. 1 (2022): 6–21. http://dx.doi.org/10.3126/sirjana.v8i1.46652.

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Abstract art as discussed in this essay covers a period of time that spans about sixty years. The introduction of the abstract art in Nepal marks a certain opening in both art education and practice among the artists. The initial challenge of the abstract art was to make it a familiar subject both among the art lovers as well as among those who respected art but were not able to appreciate it fully. A challenging period came when artists began to work towards making abstract art an acceptable and a very useful artistic practice. The tension between skill of the artists and the indifference of

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27

Savaşer, Işıl. "SOYUT SANATTA HARMONİ VE SOYUT GÜZELLİK ANLAYIŞI." e-Journal of New World Sciences Academy 16, no. 2 (2021): 154–61. http://dx.doi.org/10.12739/nwsa.2021.16.2.d0279.

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28

Butler, Rex. "What was Abstract Expressionism? Abstract Expressionism after Aboriginal Art." Australian and New Zealand Journal of Art 14, no. 1 (2014): 76–91. http://dx.doi.org/10.1080/14434318.2014.936529.

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29

Kuspit, Donald. "A Freudian Note on Abstract Art." Journal of Aesthetics and Art Criticism 47, no. 2 (1989): 117. http://dx.doi.org/10.2307/431824.

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30

Baigell, Matthew. "Robert Kirschbaum’s Art: Abstract, Intellectual, Spiritual." Ars Judaica: The Bar Ilan Journal of Jewish Art 11 (May 2015): 79–90. http://dx.doi.org/10.3828/aj.2015.5.

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31

Maeng, Hye-Young. "Abstract Machines and Fine Art Education." Journal of Research in Art Education 21, no. 1 (2020): 1–23. http://dx.doi.org/10.20977/kkosea.2020.21.1.1.

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32

Burke, J. Patrick. "Abstract Art and the Interrogative Life." Research in Phenomenology 50, no. 3 (2020): 425–34. http://dx.doi.org/10.1163/15691640-12341460.

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33

Doherty, John. "Modeling: Picture Perfect or Abstract Art?" Ground Water 49, no. 4 (2011): 455. http://dx.doi.org/10.1111/j.1745-6584.2011.00812.x.

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34

OGILVY, JAY. "Abstract: Scenario Planning, Art or Science?" World Futures 61, no. 5 (2005): 331–46. http://dx.doi.org/10.1080/026040290500561.

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35

Brinkmann, Hanna, Laura Commare, Helmut Leder, and Raphael Rosenberg. "Abstract Art as a Universal Language?" Leonardo 47, no. 3 (2014): 256–57. http://dx.doi.org/10.1162/leon_a_00767.

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The concept of abstract art as “world language” became famous after documenta II (1959). Abstract art was considered as universally comprehensible and independent of cultural, political or historical contexts. However, this was never explicitly tested empirically. If these assumptions were true, there should be higher intersubjective coherence in perceiving abstract paintings compared to representational art. In order to test this hypothesis, the authors recorded the eye-movements of 38 participants and collected information on their cognitive and emotional evaluations. The results suggest tha

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36

KUSPIT, DONALD. "A Freudian Note on Abstract Art." Journal of Aesthetics and Art Criticism 47, no. 2 (1989): 117–28. http://dx.doi.org/10.1111/1540_6245.jaac47.2.0117.

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37

Maura, Behrenfeld F. S. E. "Liturgical Experiences Mediated through Abstract Art." Studia Liturgica 47, no. 1 (2017): 113–18. http://dx.doi.org/10.1177/003932071704700108.

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38

Tuddenham, W. J. "On the art of the abstract." RadioGraphics 9, no. 4 (1989): 583–84. http://dx.doi.org/10.1148/radiographics.9.4.2756188.

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39

Gong, Jianyu. "Abstract Exploration of Paper-cut Art." International Journal of Education and Humanities 13, no. 3 (2024): 200–206. http://dx.doi.org/10.54097/mhygbh64.

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Chinese paper-cutting art carries the profound and abstract ancient folk culture, uniquely reflects thousands of years of tradition of image recording and information transmission, and at the same time adapts to the ever-changing cultural environment. Among the people, paper-cutting has become a symbol system that integrates images and words, classical and modern, and is an "artistic language" used by artists to express complex emotions about life. Through abstract thinking, the creator combines various symbols to show unique expression techniques and embodies the uniqueness of paper-cutting a

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40

Ezzeldeen, Omnia. "The Abstract Character of Typography Art." Journal of Design Sciences and Applied Arts 5, no. 2 (2024): 40–48. http://dx.doi.org/10.21608/jdsaa.2024.229906.1365.

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41

Begley, Eva. "Bark: From Abstract Art to Aspirin." Arnoldia 72, no. 3 (2015): 2–13. http://dx.doi.org/10.5962/p.253580.

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42

Böthig, Antonia M., and Gregor U. Hayn-Leichsenring. "Taste in Art—Exposure to Histological Stains Shapes Abstract Art Preferences." i-Perception 8, no. 5 (2017): 204166951773607. http://dx.doi.org/10.1177/2041669517736073.

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Exposure to art increases the appreciation of artworks. Here, we showed that this effect is domain independent. After viewing images of histological stains in a lecture, ratings increased for restricted subsets of abstract art images. In contrast, a lecture on art history generally enhanced ratings for all art images presented, while a lecture on town history without any visual stimuli did not increase the ratings. Therefore, we found a domain-independent exposure effect of images of histological stains to particular abstract paintings. This finding suggests that the ‘taste’ for abstract art i

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43

Wang, Xinyi, Fengyi Mao, Jinghui Liu, et al. "Abstract 5508: Artesunate increases enzalutamide efficacy in advanced prostate cancer." Cancer Research 83, no. 7_Supplement (2023): 5508. http://dx.doi.org/10.1158/1538-7445.am2023-5508.

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Abstract Prostate cancer (PCa) is the most diagnosed worldwide. PCa development and progression require androgen receptor (AR) signaling, which stimulates its downstream gene expressions and cancer progression. While second-generation anti-androgen drugs plus androgen deprivation therapy (ADT) remains the first-line treatment for advanced prostate cancer patients, around one-third of patients will relapse in a short period. Advanced prostate cancer results in more mortalities than primary PCa patients. Evidence shows that the recurrence is caused by AR overexpression, AR variants, AR mutations

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44

Zhang, Xiaotong. "On Chinese Aesthetics of Abstract Expressionism Art." Highlights in Art and Design 3, no. 2 (2023): 76–79. http://dx.doi.org/10.54097/hiaad.v3i2.10495.

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In the development trend of modern and contemporary art, abstract expressionism has occupied a decisive position in the history of art since its birth. As a representative art school in the 20th century in the West, it unexpectedly has a very distinctive artistic characteristic of China. In terms of objective environment, the artistic dialogue between China and the West in the 20th century was promoted to the field of metaphysical philosophy. Western artists' interest in oriental art surpassed their superficial understanding of their unique brushwork, and abstract art became the best cultural

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45

Schepman, Astrid, Paul Rodway, Sarah J. Pullen, and Julie Kirkham. "Shared liking and association valence for representational art but not abstract art." Journal of Vision 15, no. 5 (2015): 11. http://dx.doi.org/10.1167/15.5.11.

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46

Carrillo, Jorge, Luis M. Molinos, Maria Luisa Rodriguez de la Concepción, et al. "gp120/CD4 Blocking Antibodies Are Frequently Elicited in ART-naïve Chronically HIV-1 Infected Individuals." AIDS Research and Human Retroviruses 30, S1 (2014): A151—A152. http://dx.doi.org/10.1089/aid.2014.5309.abstract.

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47

Zepke, Stephen. "Art as Abstract Machine: Guattari's Modernist Aesthetics." Deleuze Studies 6, no. 2 (2012): 224–39. http://dx.doi.org/10.3366/dls.2012.0059.

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Felix Guattari was a modernist. He not only liked a lot of modernist artists, but his ‘aesthetic paradigm’ found its generative diagram in modern art. The most important aspect of this diagram was its insistence on the production of the new, the way it produced a utopian projection of a ‘people to come’, and so a politics whose only horizon was the future. Also important for Guattari's diagram of the ‘modern’ were the forces of abstraction, autonomy and immanent critique. Together these elements construct an artwork that is radically singular and separate, composed of a-signifying, a-temporal

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48

Bisanz, Elize. "The abstract structure of the aesthetic sign." Sign Systems Studies 30, no. 2 (2002): 707–23. http://dx.doi.org/10.12697/sss.2002.30.2.21.

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Walter Benjamin foreshadowed many of the aesthetic theories, currently playing a fundamental role in the production and interpretation of art. By emphasising the role of the expressive character of art, or rather the category of expressivity itself, Benjamin defined art as a language. His aesthetics was characterised by the continuous interaction of two almost reciprocal projects: the theoretical critique of art which is based on an understanding of historical processes, and the understanding of historical processes which is formed by the critical experience of art. We find a fundamental simil

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49

Blair, Lorrie. "Art Teacher Barbie: Friend or Foe? [Abstract]." Canadian Journal of Education / Revue canadienne de l'éducation 29, no. 1 (2006): 329. http://dx.doi.org/10.2307/20054159.

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50

van Campen, Cretien. "Early Abstract Art and Experimental Gestalt Psychology." Leonardo 30, no. 2 (1997): 133. http://dx.doi.org/10.2307/1576424.

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